[Bob Cole]

Would an LTO tape drive be too much to add?

[Bob Cole]

This makes me smile, when I think of all the things I’ve neglected to bring for various shoots, up to and including… the camera. (but in my defense, only as far as the end of my driveway)

I tend to pack a ton of stuff and so I agree with the idea that “you never know, so all you can.”

But the challenge of this question is to pack as light as possible. And for me, that particular list changes totally, based on the shoot. Another way of looking at this is, when you fly, what do you bring in the carry-on kit rather than checking it, so that you can make a movie even if the checked cases don’t get there on time?

I like all of the lists. Nick’s Flex-Fill is a great one. I think I’ll add that to my basic kit now. My Flex-Fill is kind of big so I don’t “always” have it; a small one is a fantastic idea.

Some more items from my list that I don’t recall from reading the above posts:
Little loops of velcro are super-easy to bring. I just keep them on the straps of my camera bag.
Little case of extra AA batteries.
Lens cloth and brush.
EXTRA CAMERA. It is ridiculous not to pack a tiny HD camera and a way to mount it in some weird location.

This case is getting heavy….

Alternatively, if the shoot allows it, there is something quite bracing about not having all that crap to carry around. Carrying one DSLR camera (with a moderate zoom) can re-open your eyes to the joys of “seeing” rather than just lugging equipment. And you can make an excellent case (no pun intended) that carrying as little as possible enables you to move more quickly, be unobtrusive, and get shots that would be impossible with a large convoy of cases bogging you down.

Bob C

[Bob Cole]

[nick ring] “Seconding Levelator.”

And it’s free.

[Bob Cole]

In post, Levelator is a good way to handle multiple voices, if you don’t have the time to mix the tracks individually.

Bob C

[Bob Cole]

I totally take your point about the need to monitor with high acuity – if the audio is bad you have no interview at all.

Often, the best interviews happen when you engage the subject in a genuine conversation which allows him to get past the artificiality of the situation. But when one person is wearing headphones, that is more difficult.

I guess one compromise is to get the necessary material once with headphones, and then go over the same ground again in a more conversational mode, without them.

[Bob Cole]

[Jay Levi] “so your saying its in the camera menu instead of the playback”

No. Either menu. But I’m using an EX1R so it may be slightly different.

[Bob Cole]

Turn the camera on (either Camera or Media).

Go to the menu, navigate along the left side to the very bottom option: “Other”

Click to the right, navigate down to where it says “Format Media”

Click and go to the card you want to reformat, click on it, confirm a couple times and the card should be reformatted. You will lose all material on the card.

Good luck.

Bob C

[Bob Cole]

I had a similar question, for a different purpose. I occasionally work as the true one-man-band, shooting and interviewing. I’d prefer not to wear my studio headphones, for the sake of putting the interviewee at ease.

The Westones look great, but are way more than I want to spend. Does anyone have a recommendation for high-quality earbuds which are a bit less expensive?

They don’t have to be extremely high-quality; I would use my 7506 to dial in the sound quality during set-up. This is simply to make sure that the audio is still being recorded.

Bob C

[Bob Cole]

[Robin Probyn] “I think that was an eggzagration.. “

eggzactly! (also, eggcellent)

[Bob Cole]

“Gurgle” is a good description.

Good to know that STP will get rid of it, but I’d advise turning off IS when you have a critical audio situation. I shoot mostly with a regular video camera, and there are enough audio challenges in the environment without adding another.

I agree about the greatness of IS, though.